Thanks to the dream team of American-born director James Ivory, Indian producer Ismail Merchant, and German-British screenwriter Ruth Prawer Jhabvala, Merchant-Ivory Productions set the standard for gorgeous period pieces and sophisticated literary adaptations. This month, The Criterion Collection presents six of them for free, ranging from Bollywood-tinged comedies to award-winning E. M. Forster adaptations.

Wes’ Picks:
(Wes Anderson directed Bottle Rocket, Rushmore, The Royal Tenenbaums, etc. He is one of the most specific directors I have ever worked with. When I played Margot in The Royal Tenenbaums, he knew exactly how he wanted my hair, clothes and eye makeup. He is so inspiring to work with because you feel like you are the one crazy, important color he needs to create the whole picture. Also, he is a great dresser.)

Terror’s Advocate
Barbet Schroeder’s great documentary, Terror’s Advocate, also relates to another one I would highly recommend, which is Marcel Ophüls’ documentary Hôtel Terminus (except I think you can only get it on VHS). There is kind of a miniature version of Terror’s Advocate in the middle of it.

Neon Genesis Evangelion
This is a Japanese cartoon that is very difficult to describe and might not sound that great if I tried anyway. It is 24 episodes, and we watched them all in less than a week because you start to want to believe it’s real. This could spawn something like Scientology.

From the Life of Marionettes
I’d never heard of this until last month. It’s an Ingmar Bergman movie he made in Germany where I think he was a tax exile.

Life Lessons
The Martin Scorsese part of New York Stories. It’s about a painter.

More or less anything that says The Criterion Collection across the top it. The most recent one I had never seen before and loved was Costa-Gavras’ Missing.

The folks over at the Upright Citizen’s Brigade have made a parody of Wes’ filmmaking (The Royal Tenenbaums, specifically). I can’t decide if I think it is funny or not.

We are looking for authors to compose several biographies for the Rushmore Academy. We cannot pay you, but you will be credited (and you can add your work to your writing credits, if you care about that kind of thing). The biographies must be well researched and properly referenced. If you are interested, e-mail edwardappleby @ yankeeracers.org.

Imagine if FAIL Blog was a hipster blood bath sponsored by the Criterion Collection. The nascent but incredibly popular tumblr, Tenenbaum FAIL, posts abhorred photos of people dressed up like the famously stylized, overly fetishized characters from Wes Anderson’s filmography.

Many of the photos were ripped off borrowed from our Halloween costume contests. Unlike the folks at FAIL, we think the costumes are fantastic! A few of our favorites after the break…

I was already scoring movies at that point, and I got a call from somebody at Sony who said, “We’ve got this interesting film with a difficult director, and you’re the only person he wants to talk to about scoring his movie.” And I thought, “Oh, no.” I went to see his movie, and when I was watching Bottle Rocket, I think they set a record for more people walking out than any other film this focus group had ever worked on. But I thought, “This guy has a really interesting take on our culture right now.” So I really wanted to meet him, and we just really hit it off. We ended up doing four films.

But where do these ideal artists exist? Even outside of visual art, it’s hard to find truly anti-establishment creators. I remember the sinking feeling in my chest when Wes Anderson debuted an ad for the American Express’ “My Life. My Card” campaign, and the sense of bewilderment and betrayal when Bob Dylan signed up for an Apple ad two years later. Everyone, it seems, is on the gravy train. And those who aren’t — well, they’re invisible.